著名拼貼裝置藝術家羅伯特•勞森伯格今次的個展「勞森伯格與亞洲」，邀請你一起踏上亞洲之旅！展覽於今年11月在M+隆重開幕，深入探討跨文化及跨時代的藝術交流，展出超過四十件勞森伯格的作品，精選其他亞洲藝術家的作品展開對話。來看看這位二十世紀深具影響力的藝術家是如何打破藝術的既定界限，將日常物件與大眾媒體圖像融入作品中，深刻影響了波普藝術、概念藝術及裝置藝術的發展。

‘Robert Rauschenberg and Asia’ the first exhibition dedicated to the artist’s travels across Asia is opening this November at M+! Discover cross-cultural and cross-temporal artistic exchange with over 40 pieces by Rauschenberg, alongside select works by Asian artists in dialogue with his practice. Rauschenberg redefined artistic boundarie by incorporating everyday objects and mass media images into his art, shaping the worlds of Pop Art, Conceptual Art, and installation art.

羅伯特・勞森伯格（1925–2008）是二十世紀深具創意和影響力的藝術家，跟亞洲淵源深厚。勞森伯格自年少即熱衷旅遊，深受旅途中所接觸到的文化影響。他自1960年代中起跟日本長期接觸，並在1975年首次在印度駐留，啟發他以嶄新方式處理物料和運用顏色。他在1982年首次到訪中國後，在世界分裂的冷戰時代，創立了名為「勞森伯格海外文化交流組織」（1984–1991）的全球計劃，亦是本次展覽的聚焦點。他將項目巡迴到中國、日本、馬來西亞等國家，致力透過藝術促進相互理解並傳播和平理念，學習不同的文化，並與當地藝術家合作。

One of the most innovative and influential artists of the past century, Robert Rauschenberg (American, 1925–2008) had a long association with Asia. An enthusiastic traveller from his youth, Rauschenberg was deeply impacted by the cultures with which he came into contact. His extended engagement with Japan began in the mid-1960s and his residency in India in 1975 inspired new approaches to working with materials and colour. After his first trip to China in 1982, he developed the Rauschenberg Overseas Culture Interchange (ROCI, 1984–1991), a global programme of travelling exhibitions and cultural dialogues.

1983年，他到訪日本，斯里蘭卡和泰國，沿路從書籍、雜誌和海報中蒐集圖片，之後將它們與在當地取得的色紙和用於儀式的襯邊卡紙結合起來，創作出恍如視覺日記的混合媒體繪畫。展覽亦追溯他在中國、印度和日本尋找紡織物及跟造紙師和陶藝家合作的經驗，對他在概念、藝術形式和物料上的啟發。

These works were made during and after his 1983 visits to Japan, Sri Lanka, and Thailand while researching locations for his Rauschenberg Overseas Culture Interchange (ROCI) project. Along the way, he collected images from books, magazines, and posters. He then combined them on locally sourced dedication boards and ceremonial mats to create mixed media drawings, almost like a visual diary. It traces the conceptual, formal and material influences on his practice, such as sourcing textiles and collaborating with paper makers and ceramicists in China, India, and Japan. Rauschenberg worked closely with papermakers to pour and press paper pulp onto scraps of fabric, layering the dried mixture over the frames.

他來到日本創作了《軸：南》，是一組四件以方位命名的作品之一，屬於勞森伯格與大塚近江陶業株式會社聯合創作的《日本陶藝作品》系列（1982/1985）。它由陶瓷製成，各個部分都塗上不同顏色。這次合作衍生了許多勞森伯格稱為「Clayworks」的陶藝作品，他用這個詞來指稱將繪畫、攝影和其他元素，與傳統日本陶瓷相結合的藝術作品。

When he came to Japan, he created Axis: South (Japanese Claywork), which is one of a set of four works named after directions, belonging to the Japanese Clay Works series (1982/1985) jointly created by Rauschenberg and Otsuka Ohmi Ceramics Co., Ltd. It is made of ceramic, with each section painted in different colors. This collaboration gave rise to many ceramic works that Rauschenberg referred to as “Clayworks,” a term he used to describe artworks that combine painting, photography, and other elements with traditional Japanese ceramics.

「ROCI中國」是在中國舉辦的首個西方當代藝術展。1982年旅行期間，他拍攝了五十多卷彩色菲林，捕捉吸引他注意的人物、街景和風景。後來，他將這些抓拍照片製作成三十米長的影像卷軸《中國夏宮》。展覽為參與劃時代藝術運動「八五新潮」的年輕藝術家，提供了不少動力。勞森伯格對日常用品和混合媒介的運用，既使人耳目一新，亦解放了他們對藝術的固有想像。其中徐冰、黃永砅、隋建國的創作都與勞森伯格的理念一脈相承。

ROCI CHINA was the first Western contemporary art exhibition held in the country. While travelling, he shot more than fifty rolls of colour film, capturing the people, street scenes, and landscapes that caught his attention. Later, he turned these snapshots into the thirty-metre photo scroll Chinese Summerhall, shown in ROCI CHINA. ROCI CHINA contributed to the creative drive of young artists behind the landmark’85 New Wave art movement, encouraging their experimentation with new methods. Rauschenberg’s use of everyday objects and mixed media felt fresh and liberating.

同年，他到安徽省涇縣宣紙廠，世界上最古老的造紙廠，創作了《七個字》系列。系列中，每幅拼貼畫都以漢字為主題，因其字義和形狀而被選中。造紙師用紙漿形塑每個漢字，並將其壓印在由三十層薄宣紙的基底上，勞森伯格還加上從上海的海報剪下的圖像、一塊透明絲綢、一條用來吊掛絲質徽章的絲帶。

In the 7 Characters series, each collage features a Chinese character chosen for its meaning and form. The papermakers moulded each character from paper pulp and pressed it onto a base of thirty-ply xuan paper, to which Rauschenberg had also added cutouts from Shanghai posters, a sheet of translucent silk, and a ribbon from which he hung a silk medallion.

1985年，勞森伯格利用他在美國廢物場找到的金屬廢料製成雕塑，創作了「ROCI 西藏」中的作品。在拉薩期間，勞森伯格與當地藝術家建立聯繫，並參觀他們的展覽。諾次等藝術家後來談到，勞森伯格對混合媒材的運用和開放的態度，如何影響了他們的創作。

1985, Rauschenberg created the works for ROCI TIBET by searching American junkyards for metal scraps to turn into sculptures. While in Lhasa, Rauschenberg connected with local artists and visited their exhibitions. Artists like Nortse later described how Rauschenberg’s use of mixed media and open approach influenced their practices.

「ROCI蘇聯」成為首個西方戰後藝術家在蘇聯舉行的個展。勞森伯格帶來了他遊歷該地區期間深受啟發而創作的新作，連同先前幾次ROCI展覽的作品一併展出。他把一系列實驗性的手法，介紹到仍然受社會主義現實主義影響的蘇聯藝術界。勞森伯格在1988年造訪烏茲別克蘇維埃社會主義共和國（現烏茲別克）的中亞城市撒馬爾罕，深受當地名為「伊卡織」的絲綢吸引。伊卡織由游牧部落的織工製作，以幾何圖案和鮮明色彩聞名。他把一批伊卡織帶回洛杉磯，並與雙子星版畫工作室合作，創作了這個系列。

ROCI USSR became the first solo exhibition in the USSR by post-war Western artist. Rauschenberg showed new works inspired by his travels across the reg alongside pieces from earlier ROCI projects. In 1988, Rauschenberg visited Samarkand, a Central Asian city in the Uzbek Soviet Socialist Republic (now Uzbekistan), and was deeply captivated by the local silk known as “Ikat.” Ikat, woven by nomadic tribes, is renowned for its geometric patterns and vibrant colors. He brought a collection of Ikat back to Los Angeles and collaborated with Gemini Print Studio to create this series.

「ROCI馬來西亞」是整個ROCI 系列在華盛頓閉幕前的最後一場展覽。1989年，勞森伯格遊歷馬來西亞半島和婆羅洲地區，其間對該國的多元文化產生了濃厚興趣，並關注城市化對原住民的影響。他利用在當地拍攝的照片，以絲網印刷的方式印在繪畫上，創作了一系列作品，並在其後的職業生涯繼續以這些圖像為素材創作。

The last in the ROCI series before the closing show in Washington, D.C.. During his earlier travels in Malaysia in 1989 to both the peninsular and Borneo regions, Rauschenberg became interested in the country’s diverse cultures and urbanisation’s impact on indigenous communities. He developed a series of paintings screenprinted with photographs he had taken there, and he continued to draw on this archive of images for the rest of his career.

Date: 2025.11.20 – 2026.4.26
Venue: M+ Museum｜ M+博物館
香港九龍博物館道38號西九文化區｜ West Kowloon Cultural District, 38 Museum Drive, Kowloon, Hong Kong